(Warning! Part of this review is rewritten from my RYM account!) Vanilla Fudge is one of those bands I have a weird relationship with. Growing up my dad would play them a lot, but I basically had no memory of their music until I started listening to them a while ago. Their first album is notable for the gimmick of being souped up heavy organ rock covers of popular songs, and a lot of their sound you can hear influencing Deep Purple. I'll be completely honest here I am a sucker for the early hard rock or proto-metal driven sound with fuzztone guitars and organ. That being said, this album get's a little meandering at time with the lengthier songs but it's a great time capsule of psychedelia's transition into hard rock/metal and progressive rock. Anyway, Renaissance is their third album after their original (mentioned above) and their experimental second album. This one strikes a better balance of originals vs covers (compared to previous albums) in almost proto-gothic, moody atmosphere. The end of Faceless People even leans into "modal rock" territory. The highlights of these songs is the Fudge have an uncanny ability of knowing to really crescendo for maximum impact, and of course their version of Season Of The Witch is a classic.

Composition Journal #40

I finished my string trio a while ago. My new piece is electronic with a variety of inspirations and ideas I have. My initial concept was ambient guitar (think frippertronics) meets a pastoral soundscape, but I’ve been considering also including more musique concrete elements and world music elements in a style similar to Jon Hassell. I wrote out a bunch of bass clef variations for marimba in D Dorian and in 12/8. I am thinking of using this as a strictly composed section to contrast with the rest of the piece being more fluid and improvisatory in its composition. This section would also be similar to gamelan with several different layers of time/meter interlocking and shifting around each other. I am thinking of having the sounds be marimba, bass guitar, and piano with maybe some electronic samples/pads or extra guitars for texture. Overall, the bass guitar would have the slow melody and as you get higher up in the pitch space the faster patterns emerge. An example of one of the patterns I made was two measures of 12/8 which have notes subtracted every 5th 8th note twice, then every 4th 8th note twice, then every 3rd 8th note twice. I was thinking of using that ordering of 55+44+33 to derive a polymeter pattern on top of it of 10/8, because 5+5 is 10. Therefore if it started 44 or 33 it would have an accompanying figure in 8/8 and 6/8 respectively. If the pattern was 54+4+3+35 or something like that, I could keep the pattern as adding the two numbers together (in this case it would be 9/8) or I could take the first or second number and only use that as my numerator (so 5/4 or 4/4). I think I am going to look towards gamelan and western music like gamelan for influence. Maybe what I could do is take slices from the bass clef pattern and turn them into a right hand pattern based off of that polymeter approach I described.

Composition Journal #39

I’ve been working on a String Trio, and the deadline is Thursday. Today I finished developing the first half. The next thing I have to do is work on the 6/8 section. Here what my task will be for tomorrow is to find a cadence point in the middle to repeat the melody and then the 2nd time round finish it. It will also then have some chiming in done by viola or cello. It should end the same way. The section after that I am going to skip, have some sort of cadenza split between the instruments, then do the finale in 7/8 which may need some editing too. 

Composition Journal #36

I finished up a composition based off of an improvisation. I started to overthink my decision making process, but once I recognized that and ignored it, it helped getting it done. I was basically filling in the chord changes, and thinking too hard about it. I already had a general chord scheme or vocabulary, so once I filled in the important cadences or landing points it was basically just connecting A to B, B to C, ect. So it was good to just finish something and not be so precious over the choices I make. Still haven’t finished my big tune yet, but I think I’ll be able to make progress shortly 

Composition Journal #35

This weekend I worked on things that aren’t due or have any expectation tied to them, which was more fun. I took a sketch from a couple weeks ago which was a full melody and basic rhythm section, and am slowly transforming it into a 32 bar type song. I like this more than the stuff I’ve been working on constantly, since I get sick of it easily. 

This is another song that Spotify threw in my lap. I knew of Gong before, but only some cuts off of flying teapot. This song is off of their second album, and took me for a loop. It has some garage rock edge, and catchy riffs that are changed together in a semi-progressive fashion. The main riff was so catchy I actually figured it out by ear and learned it on guitar, which has a cool lydian dominant or whole tone type sound to it. It is also an early example of space rock, with delay on the vocals at specific parts, and a noisy delay guitar solo in the middle. What makes this song work is each section has a catchy rhythmically driven riff which drives it forward, and gives the ear something to focus on. In contrast, Hawkwind tended to have songs that chugged on 1 or 2 riffs that were mostly straight 8ths. What is interesting is both of these “space” bands used saxophone at one point. 

This funky New Wave song by Japan I got into by the radio feature of Spotify of all things. I guess there’s a silver lining to the service harvesting your data! This song is pretty par for the course with your typical verse chorus structure, although includes a lengthy interlude of Yuka Fuii singing, then a guitar solo before the verse chorus structure begins anew. Alright, so nothing crazy going on there. It’s pop music, right? Well, yes, but there’s something that just gets me off via the combination of quirky syncopated fretless bass, gated snare drum, and early 80s synths all under Bowie-like vocals. It gives the song this oddly otherworldly or unreal feel which wouldn’t be the same if you arranged this song for different instruments. Overall, it’s a cute little pop ditty that has some elements of “world music” to give it its own identity. 

Composition Journal #33

Hello! I’ve still been writing. I’m jotting this down as a quick mental note before I had to do some other work. I’ve been working on this extended jazz-type piece ala Soft Machine or Ahead of Their Time era Zappa. It has a structure of Theme 1, Theme 2, Solo Block 1, Solo Block 2, Theme 2, and Theme 1. Basically, what I have to get the broad strokes in for still is Solo Block 2 which is in 11/8 and then Theme 2 is the reprisal except it is in 10/8 (instead of 5/4) and straight time no swing. The Solo Block 2 is for the guitar solo and it’s going to be a quick change after the 16-bar loop for the clarinet solo into something completely different. This will then need a very short bridge or interlude or cadence to connect it to the theme 2 reprisal. The theme 2 reprisal will do its thing, and then cadence similar to before. After the cadence we get the drum intro to reprisal of theme 1 

Composition Journal #32

After: I wrote for a while, maybe an hour or two. I’ve been writing more regularly. I am working on 1 song right now, and am trying to keep my momentum going forward. One thing that helped get me back to speed to write regularly was doing sketch work, and planning before I start to work on a project so I know how it all fits together. However, this song will be for a different project and not my current one. I wish to continue to work on this song, but I also need to finish the electronic music project I was working on. I’m not quite sure what to do for the other songs I want to add to my electronic music project, so I should spend some time to brain storm how everything will fit. 

Composition Journal #31

After: I keep forgetting to journal after I write. I spent sometime and finished the second electronic song. I’m really tired today, and didn’t work a lot, but at least I finished it. I think the next song needs to change in mood or style slightly or it’ll get tiresome. I’m thinking of doing some minimalist stuff next with a large ensemble (guitars, synths?) Not sure if  I want to use music I’ve written or make something new. 

Composition Journal #30

After: Worked at least an hour on the same song as yesterday. I did some stuff with drums and basically had to experiment to figure out what I liked. I realized that the sense of space is important for the first half, so I will not use drums there. The second half I have a drum loop that is in 14/16 during the 7/4 part of the song. Some of this section needs to have rhythmic hits or varied, non backbeat drumming. I’d also like to vary the backbeat a bit, but not too busy. Overall I am making progress. 

Composition Journal #29

After: I worked for about an hour on music for a project I’m working on. What I did was added panning and detuning to the vibraphone. I also edited the filter on one of the instruments, I then added a 2 bar melody introduction, and bowed cymbals. I would like to add automation to the bowed cymbals because they sound samey after a while, and the guitar needs automation as well due to the same problem. I could add more textural elements to thicken it, or maybe leave it thin. I’m not sure yet. I’d also like to add some percussion, but it’s not necessary. 

Composition Journal #28

Hello, I’m back. I took a break from journaling and working on music. I finished up the semester, and I just needed a breather. I am working a part time job, and I ended up finishing my electronic collage piece “creepybass”. Working a job in the real world has given me some perspective on opportunities, skillsets, and the importance of how you spend your time. I also have a more consistent routine, and have been overall happy or at least not terribly frustrated. I’d like to keep working on music, and update my journal regularly again. I think I’ll write for an hour this morning and see what happens! 

After: I wrote for an hour and ten minutes. I’ll probably write more. I had a songwriting breakthrough while working which was basically realizing I have certain styles or tendencies in my compositional process, and I need to accept them. While writing and studying composition I have been sort of repressing some of my creative ideas even though they’re intrinsic to who I am as a composer. I think I have made progress doing that, but it was something that made composing difficult and unenjoyable, so I’m glad I’m able to accept who I am and just write things. If I end up not liking what I write I can always change or edit it as well. I worked on my folkjazz piece which is in 13/8 in B major world (although the melody is shaped around D# phrygian and A# locrian shapes) which then transitions to 7/4 (14/8) B dorian world. I’ve taken this major minor modulation scheme from the tune “My Favorite Things”, and the approach to style is a mix of Missus Beastly and some of Dave Brubeck’s music. 

After After: I did another extra 2 hours and 10 minutes 

Here’s a cool album to put on to space out to in a semi-meditative trance, or just put in the background like your own private version of lo-fi hip hop beats to study to. Su Tissue was a singer and occasional frontwoman of the new wave band Suburban Lawns which was active in the California area in the late 70s early 80s. At some point the band broke up, she went to Berkley to study music, and came out with this minimalist album. Afterwards she quit the music business and went into a private life with rumors ranging from being a real estate agent to being a recluse due to mental health issues.  The album itself clocks in around 34 minutes, however if you’re not into minimalist music be aware the whole album is centered on variations of the same introductory piano riff throughout the whole experience. What’d I say makes this piano riff work is that it’s catchy, just rhythmically and harmonically interesting enough on its own to be fun to listen to by itself. What makes this really last is the layers of instruments that come into play, and loosely reinterpret the piano part. The beginning track is the most open with ambient string or synth type reverb-drenched drones, sparse upright bass, and occasional percussion. The album progresses to having post-punk, noisy fuzz guitar and Glass-esque semi-scat type vocals on top of it. The whole album has an ethereal or dreamlike quality to it, which contrasts with the usual urban atmosphere minimalist composers tend to nod to. 

It’s a shame Su Tissue disappeared since she made some aesthetically pleasing music with some pretty sparse material. It’d be neat to imagine what she would of came up with if her career progressed. Maybe that adds to the mystique of the album is the mystery of what happened to her. I found myself more curious about the music as I read about the micro-cult status she has in some niche corners of the Internet. The mystery adds to the appeal, and maybe it should be kept that way... Also, check out the previous band she was in Suburban Lawns it’s good wacky new wave music. 

Composition Journal #27

After: I wrote for more than an hour, but not sure how much. I finally decided to work on CreepyBass and started finishing ideas for the ending. I think it works but I might tweak it. I’m fixing the interlude right now. Instead of a static loop with a guitar solo, I’m writing a mini pop song. I’m done for today but I need to keep this going tomorrow. 

Composition Journal #26

After: I wrote for an hour. I got my idea while jogging. I decided to make a short interlude/turnaround with bass and piano as the focus after reflecting on how the Coltrane Quartet added those types of turnarounds a lot, so I’m taking from that. I wrote out my bass melody which I can tweak but now I gotta add piano to go with it, and fix  the drums. 

Guitar Practice Journal #10

After: I spent an hour and 14 minutes practicing. I haven’t practiced in ten days so I just copied what I did last time tempo wise. I can feel my hands already out of shape, so I just have to accept the price of taking time off like that. I added some practice to learn Greensleeves, which is easier than my other classical guitar piece. Once I learn it, I can get my book 2 for classical guitar. I’d like to keep working on guitar throughout the summer and see where I end up!